Emmett Louis Till (July 25, 1941 – August 28, 1955) was an African-American teenager who was lynched in Mississippi at the age of 14 after reportedly flirting with a white woman.
Till was from Chicago, Illinois, and visiting relatives in Money, a small town in the Mississippi Delta region. He spoke to 21-year-old Carolyn Bryant, the married proprietor of a small grocery store there. Several nights later, Bryant's husband Roy and his half-brother J. W. Milam went to Till's great-uncle's house and abducted the boy. They took him away and beat and mutilated him before shooting him and sinking his body in the Tallahatchie River. Three days later, Till's body was discovered and retrieved from the river.
Till's body was returned to Chicago. His mother, who had mostly raised him, insisted on a public funeral service with an open casket to show the world the brutality of the killing. "The open-coffin funeral held by Mamie Till Bradley exposed the world to more than her son Emmett Till's bloated, mutilated body. Her decision focused attention not only on American racism and the barbarism of lynching but also on the limitations and vulnerabilities of American democracy". Tens of thousands attended his funeral or viewed his casket and images of his mutilated body were published in black-oriented magazines and newspapers, rallying popular black support and white sympathy across the U.S. Intense scrutiny was brought to bear on the condition of black civil rights in Mississippi, with newspapers around the country critical of the state. Although initially local newspapers and law enforcement officials decried the violence against Till and called for justice, they soon began responding to national criticism by defending Mississippians, which eventually transformed into support for the killers.
In September 1955, Bryant and Milam were acquitted of Till's kidnapping and murder. Protected against double jeopardy, Bryant and Milam publicly admitted in an interview with Look magazine that they killed Till. Problems identifying Till affected the trial, partially leading to Bryant's and Milam's acquittals, and the case was officially reopened by the United States Department of Justice in 2004. As part of the investigation, the body was exhumed and autopsied resulting in a positive identification. He was reburied in a new casket, which is the standard practice in cases of body exhumation. His original casket was donated to the Smithsonian Institution.
The trial of Bryant and Milam attracted a vast amount of press attention. Till's murder is noted as a pivotal catalyst to the next phase of the Civil Rights Movement. Events surrounding Emmett Till's life and death, according to historians, continue to resonate. Some writers have suggested that almost every story about Mississippi returns to Till, or the region in which he died, in "some spiritual, homing way"....LESS
I met Dr. Clenora Hudson-Weems in D. C. at the National Ford Annual Conference in 1987. She was one of the plenary speakers, rendering a most eloquent and engaging slide presentation on her groundbreaking thesis of Till as catalyst of the civil rights movement. It was astounding; I remember it as though it were yesterday. Clenora s work resonates with me to this day. At that moment, she resurrected and established Till as the beginning of the Movement. Later, shortly before completing the Ph.D. in May 1988, she began communicating with Emmett s mother, Mamie Till Mobley and encouraging her to seek justice for her son s brutal murder. Thus anyone who lays claim to exhuming the Till saga before Dr. Hudson-Weems demands to be questioned. - Dr. William Turner, Vice Pres; Assoc. Provost, U. of KY It is the responsibility of all writers to cite the research and writings of those who come before them. In a world where credit is often given to mediocrity, we can ill afford to ignore the work of the scholars who pave the way for us to craft story. Hudson-Weems Till writings are clearly the first full length studies to establish the lynching of this martyr as the true catalyst for the Modern Civil Rights Movement. Hence, anyone writing after her on this subject has the responsibility to not only know the source but to cite her work as well. To not do this or to claim ignorance of her work is an obvious sign of fraud, inferior research, or arrogance. - Evelyn Coleman, Award-Winning Author of What a Woman s Gotta Do For nearly 20 years, Hudson-Weems was the lone voice calling for a fresh assessment of the true historical significance of the murder of Emmett Till. That voice has lately been joined by a host of others, but there is disharmony in the choir. The de facto failure to credit, let alone acknowledge, both her pioneering work and her rightful place as the preeminent Till scholar is more than intellectual theft; it is personal grand larceny. The truth needs to get out that the real authority about Emmett s story is Clenora. When someone s dedicated his or her life, and mined the subject as much as Clenora has, her name needs to be connected with what she s done. Further, my own effort to assist Clenora in realizing her dream of producing a motion picture based on her research and vision of racial healing through redemption has also been compromised by this sudden rash of Till experts. Modern day pirates beware; legions stand between you and your greed. With the support of her many friends, colleagues, and true believers, Dr. Hudson-Weems unique voice will not be lost in the present cacophony, nor will her impersonators go unchallenged. - Barry Morrow, Oscar Award-Winning Co-Writer for Rain Man; Producer"
"The Death of Emmett Till", also known as "The Ballad of Emmett Till", is a song by American musician Bob Dylan about the murder of Emmett Till. Till, a 14-year-old African American, was killed on August 28, 1955, by two white men, reportedly after flirting with a white woman. In the song's lyrics, Dylan recounts the murder and trial.
One bootlegged performance, which was recorded from Cynthia Gooding's radio show called Folksinger's Choice sometime in early 1962, starts with Dylan saying that the melody is based on chords he heard from folk musician Len Chandler. The melody is quite similar to "The House of the Rising Sun" from the album Bob Dylan. Dylan's performance of the song was released on the 1972 album Broadside Ballads, Vol. 6: Broadside Reunion, under the artist name Blind Boy Grunt. Another recording, taped as a demo for music publisher M. Witmark & Sons and also bootlegged for many years, was released on The Bootleg Series Vol. 9 – The Witmark Demos: 1962–1964 in October 2010.